The Only Living Pickpocket in New York is a mouthful of a title, but the film itself is a quick 1 hour and 28 minutes, making every moment count. John Turturro, a staple in indie cinema as both an actor and director, portrays Harry Lehman, an aging pickpocket living in The Bronx.

The film begins with the song New York, I Love You but You’re Bringing Me Down by LCD Soundsystem, showcasing Harry’s daily grind on the tough streets of NYC, including the subway. We soon discover that his wife, Rosie (Karina Arroyave) is in a catatonic state and cannot speak, yet Harry continues to have one-sided conversations with her as if she is still actively engaged in his life. He is a full-time thief who depends solely on his pickpocketing abilities to support himself and cover his wife’s medical expenses.

The movie doesn’t waste time introducing us to Harry’s close associates. One of his longtime partners in crime and friend is Benny (Steve Buscemi), an old-school pawnbroker from the Bronx. Then there’s Allan (Giancarlo Esposito), a police detective who is fully aware of Harry’s illegal activities. When Allan spots him on the subway, Harry immediately sits on his hands to signal that ‘there’s no funny business’ happening. Allan arrested Harry years ago, but they have since become friends, and Harry acts as a street-level informant to Allan.

This film embodies the essence of NYC, which is writer/director Noah Segan’s hometown. It serves as a love letter to the Big Apple, yet Segan intentionally steers clear of the typical postcard landmarks and the usual glamorous Manhattan scenes. Collaborating with DP Sam Levy, he opts for a gritty, analog visual style, showcasing the working-class neighborhoods of the Bronx, Queens, and Brooklyn—locations that mirror his own childhood experiences in the city.

It’s just another day at the “office” for Harry, that is, until he unwittingly pickpockets the wrong guy. One night, he takes a duffel bag from a fancy vintage car that belongs to a young man named Dylan (Will Price). Harry is quite oblivious to modern technology; I mean, he does not even own a cell phone, and he doesn’t take into account that there are street cameras everywhere. As it turns out, Dylan is an heir of a powerful NY mafia, and he wants his cryptocurrency wallet back. When Dylan and his goons take Rosie hostage, Harry is forced into a desperate race across NY’s five boroughs to get the encrypted drive back.

The film offers an intriguing commentary on the clash between the analog world and the rapidly evolving digital landscape. Working-class folks like Harry, who have a hard time keeping up with tech changes, often feel left out of modern society. On the flip side, Dylan’s overconfidence and heavy reliance on digital gadgets ultimately lead to his downfall. It’s quite amusing to see the older thief pull his last trick up his sleeve to outwit the arrogant Gen-Z-er.

Turturro shines in the lead role, mixing street smarts with a touch of vulnerability, all wrapped in a quiet elegance and melancholy. The way he tenderly carries his wife’s lifeless body up and down the stairs is really touching. His weary eyes show the burden he carries, yet he still holds onto a bit of life’s joy, especially during the dance scene in his apartment. The film doesn’t bog us down with his backstory, but it gives us just enough through his interaction with his estranged daughter, Kelly.

Tatiana Maslany gives an outstanding performance as she confronts Harry about the ‘sins of the father’ and the trauma she endures. Harry’s deep, silent realization of the toll his career has taken on him is truly heartbreaking. I’d say it’s one of the standout scenes of the year.

It’s worth noting that Rian Johnson is an executive producer through his production company, T-Street Productions. Johnson and Segan have been creative partners for a long time, dating back to their work on Johnson’s debut film, Brick. The final scene features a surprising cameo (hint: she’s in the first Knives Out film) as Moira, a surprisingly friendly matriarch of the mafia family. Their conversation in the car is quite amusing and heartfelt as they reminisce about the good old days in the crime world.

Segan leaves the ending open-ended and poetic. It hints at Harry’s impending mortality as he looks out at the Manhattan skyline, almost bidding farewell. The same song from the opening sequence plays again, tying everything together beautifully. I enjoyed Gary Lionelli‘s jazzy, old-school score; it fits Harry’s journey perfectly.

Kudos to Segan and his team for creating this indie masterpiece that’s understated but packs an emotional punch. I’d love to see Turturro garner some major awards, even an Oscar nod, here. It’s refreshing to see a crime drama that focuses more on character development rather than excessive violence. I can’t wait to see what Segan will come up with next.